Early on, a story’s meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it – and so things have to be ramped up.
GEORGE SAUNDERS“Kindness” can mean a lot of different things. In this case, I felt I had to present his [Donald Trump’s] supporters in as fair a light as possible – many of them hadn’t been interviewed before and that entailed some interviewer-courtesy in the editing and so on.
More George Saunders Quotes
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Maybe you could even think 100,000 people are inside each human being. And you drop a novel on that person, and a certain number of those sub-people come alive or get reenergized for some finite time.
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We’re in the transition between birth and death. But the one that people often know about is the transition between the moment of death and whatever comes next, so reincarnation or heaven or hell.
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When I wrote that [Donald] Trump piece, I had this uncomfortable experience of sensing a lot of things that were nascent, that I couldn’t quite articulate. And one of them was this move toward anti-intellectualism. An anti-love move, even.
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Monologue is the most honest way to represent human beings.
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I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that “reader” is actually just me, if I had never read the story before.
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When you read a short story, you come out a little more aware and a little more in love with the world around you. What I want is to have the reader come out just 6 percent more awake to the world.
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I’ve seen time and time again the way that the process of trying to say something dignifies and improves a person.
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I’ve noticed that nowadays I’m doing a lot of stuff on the phone and on the computer, which I usually wouldn’t do earlier. And I can feel my brain being rewired:
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What’s really baffling to me is the way that the technology has risen up to help us become more materialistic.
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A culture’s ability to understand the world and itself is critical to its survival. But today we are led into the arena of public debate by seers whose main gift is their ability to compel people to continue to watch them.
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The idea is that what an artist lives through should broaden his notion of what it is possible for a human being to live through, and that new understanding should then get into and expand the work.
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Whatever you love, that will be an influence. It just will. So in effect the young writer’s job is: go out and find some stuff to love.
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All along, my mantra was: Don’t write unless it contributes to the emotion, and do anything you do in service of the emotion only.
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There comes that phase in life when, tired of losing, you decide to stop losing, then continue losing. Then you decide to really stop losing, and continue losing. The losing goes on and on so long you begin to watch with curiosity, wondering how low you can go.
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Life is short, very short, and what are we doing here if not trying to become more generous and loving?
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